Send "Sarah Fimm " Ringtones to your Cell 
| Sputnikmusic |
 It's amazing how far Sarah Fimm has come since releasing Cocooned in 2001. There was a time when her music was dominated by electronics and chill beats with only Sarah Fimm's vocals left to provide any human element. That dynamic slowly changed, though, as Sarah set out to deliberately make her music more emotional and dynamic. Although each album slowly made progress towards that goal, the first huge leap came with her EP White Birds. Without rehashing every nuance of that excellent EP, suffice it to say that it saw Sarah successfully end her reliance on electronics and, more importantly, it proved that she had it in her to deliver truly touching songs ("Tamara Song" in particular). The natural final step seemed to come with the release of Red Yellow Sun. This was the album that did away with the remaining electronic elements and replaced them with electric and acoustic guitars, organic percussion, classical instrumentation and a larger folk influence. It appeared that Sarah Fimm had finally realized her vision, but Near Infinite Possibility proves that she hasn't settled down just yet. Red Yellow Sun as a whole seemed to be built around quiet folk-influenced melodies that left the songs feeling very open. This warm meditative ambience was the key element that locked all of the songs together, but it also gave the album a homogenous feel. Near Infinite Possibility, in contrast, seems to pull from many diverse influences – from 70s psychedelic rock to 90s alt. rock and even a bit of prog. This collection of influences, for whatever reason, has lead to an album that seems to radiate with an underlying sense of sadness. It's not just in the lyrics (although it's there too) but also in the tones and melodies. There are songs such as the first single, "Yellow", that are blatantly dark but even on tracks such as the proggy and catchy "Closer" the music creates a slightly sinister ambience through the use of dissonance, melancholic guitar melodies and the occasional strange sound effect. This underlying sense of depression isn't just an isolated incident either; it's a feeling that seems to lie just under the surface of just about every song (and is also placed right at the forefront from time to time). This sense of unease and unhappiness peaks on "Disappear" – a track that reminds me a lot of the kind of thing Alice in Chains were so good at on Dirt....full text |
| Frissonic |
| Well, here we are–that lovely time of year where we sit in eager anticipation of a Sarah Fimm release. This time, we get it ahead of time in the form of streaming audio from this site! Reading over the song credits for individual tracks, I immediately noticed that the musicians vary from track to track. The venerable Josh Freese plays drums on quite a few of the songs. If you’re not familiar with his work, check out A Perfect Circle. He’s an amazing drummer. I don’t recognize any of the other names, but if they’re playing with Sarah, I trust that they’re quality. Listening to this new CD, yah–they are. The greatest and most obviously noticeable difference between this and the Karma Phala project is the minimalist electronic music that went in to this new offering. Whereas KP was heavily laden (and most beautifully so) with keyboard, synth and loops, Near Infinite Possibility picks up where Red Yellow Sun left off. The music is much more organic and instrumentally driven. Her voice becomes a blend of Three tracks from Karma Phala make the leap to the new CD : “Everything Becomes Whole,” “Sing,” and “Invisible Satellites” are some of my favorite tracks from KP, and I’m glad to see them getting a greater distribution through the new CD. The new CD has a sort of pysch-folk-rock sound to it. Some tracks have a very fundamental rock sound to them (listening to Flames at the moment), drawing on such classic acts as Skynard and Aerosmith (that’s the 70s version of Aerosmith … not the post-”Dude Looks Like a Lady” Aerosmith). If the streaming track list is representative of the CD track list, she saved one of the best for last. Reaching back to her classic rock roots and channeling the likes of CSNY and a hint of Simon and Garfunkel, we’re treated to “Morning Time.” Other tracks, specifically two of the aforementioned tracks from KP ((“Invisible Satellites” and “Everything Becomes Whole”), have a much more alternative sound to them....full text |
Sarah Fimm lyrics
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